Some early character sketches for Nastenka, the older stepsister, and the Beast. Part of my beauty and the beast redid design project for school- this is based in old Russia and is called, “The Scarlet Flower”.
“Herccc,” You groaned as your head was slammed on the top of the desk, most likely leaving a bruise on your forehead. “I can’t do this.”
It was two-thirty in the morning on a Wednesday. The reason that you weren’t in bed with your boyfriend was because you were having a cram session for your final while Hercules sketched out fashion designs, sitting Indian style at the foot of the bed. You both attended the same art college and shared the same dorm along with your best friend Angelica and his friend Lafayette. While your roommates had classes during the day, you and Herc had evening and night classes, making you somewhat night owls. You and Angelica were studying in the field of Visual and Performing Arts, Lafayette was majoring in Music (specifically Songwriting), and Hercules was a Fashion Design prodigy.
You were pursuing Performing Arts because your brother wanted to be in Theater and perform in public. You used to be very antisocial but he helped you out of your shell and you learned to embrace the limelight and the adrenaline of live performing. But, your brother had a terrible accident that left him paralyzed from the waist down. So, you vowed to keep going with your dream job and making Performing Arts your college degree choice. Your parents were proud of you but really wanted you to take on engineering like your dad but you didn’t want a boring life. So, they’ll have to deal with an actress for a daughter.
Hercules looked up from his sketchpad and chuckled at your deflated form sitting at the desk, your head planted on the wooden tabletop. He thought you were so cute when you were exhausted from cram studying. He placed his sketchbook and package of drawing pencils back in his book bag and stood, stretched his arms, and yawned. Right now, you’d be drooling over his beautifully toned muscles, but you were too occupied with dozing to sleep at the desk. Herc moved over and pulled your chair back, making your head slide off the desk. Before you could fall forward out of your seat, Herc picked you up bridal style and lightly threw you onto the bed. You let out a comfortable sigh of air out of your nose, slipping under the warm covers and nestling into the mattress.
Hercules watched you with adoration. You were just so cute when you try to sleep! He could already imagine cuddling with you for the rest of the night. But, he had to finish his sketches or it will eat at his psyche for hours and cause him no sleep. So, he sat down, pulled the chair back up to the desk, and retrieved his book bag. He just took out his sketchpad and pencils when you sat up abruptly, your once messy bun now free from the hair tie that was now laying on the pillow. You blinked a few times before glaring tiredly at your boyfriend from across the room.
“Herc,” You said with a pouty tone. “Get in bed.”
Hercules blinked a few times before softly smiling. “I will, my dear. I just need to finish this sketch.”
“No. You come to bed now.”
“Just give me five minutes, okay?”
“No. Come to bed now.” You were practically whining.
“(Y/N), I need to finish this.” Hercules whined back.
“Hercules Mulligan, I need you to come over her a cuddle with me.” You shot back.
Hercules looked up to look at you. His soft features now held a tired frown. The room was silent besides from the crickets outside the open window and your breathing.
“Did you hear that?” Hercules whispered.You frowned.
“Hear what?” You whispered back.
“The sound of complete silence where you’re asleep and not bothering me.”
You glared darkly at Hercules, who was smirking smugly. You wanted to punch him but didn’t have the energy to argue any longer. You just fell back onto the pillow and murmured about how you were going to make Hercules sleep on the couch for a few nights as you tried to get comfortable.
After a few moments, you felt a dip in the bed behind you. You felt strong arms wrap around you as you were turned around to face Hercules. You smirked.
“So you came crawling back to me, huh?” you said smugly but also tiredly.Hercules chuckled.
“I can still leave this bed, (Y/N).” You pulled Herc closer to you.
“Nope. You can’t. Goodnight Herc-y. I love you.”
Hercules kissed your forehead lightly before tucking his head in the crook of your neck.
Hunt for the Wilderpeople is pure fun soaked with genuine heart contained in a hilarious adventure. It’s written with razor sharp wit and director Taika Waititi captures the delightful journey of two unlikely partners thrusted into surviving the wilderness while remaining playfully offbeat. Sam Neill is the best he’s ever been since Jurassic Park. Newbie Julian Dennison lovingly plays a 13 year old hypebeast with a heart of gold without ever feeling insincere or annoying. Waititi has a couple of hits now and hopefully his next picture will continue this trend. It’s a little film that’s my most anticipated Marvel entry of this year ;)
If you haven’t already, go see this it. It’s on Hulu. See? Simple and easy.
I think they were asking what subjects or majors you would see the labels you have studying in school !!
thank you !!! since there wasn’t any labels specifically mentioned, i just did a few different ones. but really, any label could do any major if you want them to !! it all depends on your character’s personal interests, which may or may not reflect their label !! i found it difficult to do it for labels based on personality, as opposed to interests. such as the vixen, the connard, etc !! i honestly feel as though any label could very well be interested in completing any major, if the interest is there !! if you have any questions about why i chose the major’s i did for a particular label, feel free to ask !!! i understand that some of the reasoning might not be as easily understood without an explanation !! all of the following majors were found from the following websites: this, this, this, this. i also found a lot of major’s that i couldn’t fit into each of the labels, so if anyone wants a full masterlist of college major’s, let me know !!
the academic — education, bilingual education, early childhood education, elementary school teaching, high school teaching, middle school teaching, teacher assistant, teaching english as a second language
the activist — history, journalism, peace/conflict studies, political science, women/gender studies, philosophy, non-profit management, speech and rhetorical studies, ethnic/cultural minority and group studies, human rights,
the artisan — dance, ballet, fine/studio art, graphic design, interior design, music, arts management, english/writing, architecture, construction management, visual studies, arts and entertainment management, photography, performing arts,
the anthomaniac ( + animal lovers ) — environmental science, forest management, biology, fisheries and wildlife, marine science, pre-veterinary medicine, parks, recreation and leisure studies, animal science, oceanography,
the astrophile — astronomy, astronomy and astrophysics, atmospheric sciences and meteorology, space systems operations, physics, planetary astronomy and science, astrophysics.
the athlete — sport management, exercise science, nutrition science, rehabilitation and therapy, sports medicine, health and physical fitness, physical education teaching and coaching, sports communication.
the bellwether — apparel/textile design, fashion design, fashion merchandising, business, marketing, fashion modelling, fashion and fabric consultation, theater design and stagecraft, design and visual communications, costume design.
the benevolent — allied health, nursing, emergency management, public health, psychology, midwifery, rehabilitation and therapy, social work, long term care administration.
the bibliomaniac — english/writing, education, history, journalism, language studies, children and youth library services, library and information sciences.
the dirtbag ( + hoyden ) — automotive technology, automotive engineering technology, vehicle maintenance and repair technologies, automotive-body technology.
the ecclesiastic — religious studies, religious education, bible studies, religion and the humanities, christian studies.
the epicure — culinary arts, food science, nutritional science, food chemistry, foods, nutrition and wellness studies, restaurant and food services management, restaurant and culinary management, hotel, motel and restaurant management.
the fervour/quixotic — romance languages dual major, romance languages and the literature,
the guardian — public health, criminology, emergency management, legal studies, crimonology, law enforcement investigation and interviewing, police science, criminal justice, social work.
the gregarious — hospitality management, marketing and sales, business administration and management, psychology, human resources, public relations management, physical therapy, general management,
the hacker — video game design, web design/digital media, computer science, software engineering, computer programming, computer systems analysis.
the magnate — business/finance, hospitality management, economics, international relations, business management administration, accounting, investment and securities, human resources, international business, sales and marketing,
the muso — music management and merchandising, conducting, music teacher education, music theory and composition, music performance, music theory, jazz studies.
the netizen — video game design, web design/digital media, computer science, film/broadcast, game and interactive media design, computer graphics, graphic design, robotics technology.
the phoenix — legal studies, social work, youth services, student counselling, psychology, criminology, counseling psychology, human services, premedicine, sociology, community psychology.
the thespian — film/broadcast, cinema and media studies, film production, film studies, performing arts, drama and dance teacher education, musical theatre, theatre art, acting.
the traveler — recreation and tourism management, international studies, language studies, international relations, geography, geographical studies, global studies, international business, tourism and travel management.
the writer — creative writing, american/british/canadian literature, english, english composition, general literature, languages, classics, library and information science, comparative literature.
Proposal for the Usage of VOCALOID in US Colleges for Study and Educational Use
A piece I wrote for my final project in English composition in college. It’s a bit lengthy (1500+ words) but I am very proud of it. As a long-time VOCALOID fan and now a student at a US university, I wish to help spread awareness, interest, and love for everything VOCALOID in the United States during my years in college.
Do you have a list of schools where to study 2D animation (international, not just US). And can you even survive in this industry these days without doing 3D? I have a lot of fun doing 2D, but I tried 3D a couple of times and just feels entirely different ... tedious even. If I really try to pursue a career in animation I'm scared I might end up just doing 3D for the rest of my life and that's really not what I want.
Hi there! I will say that I do not have a full list of schools (both in the U.S. and abroad), but I can provide you some that I do know of that study hand drawn animation. Now, most animation schools will have you to learn hand drawn animation before getting into other animation media (3D, 2D like cut puppets, stop motion, motion design), so this is something to keep in mind when considering a school:
CalArts (Character Animation) - please know that you have to compete to get into the program before taking a class there. Ask for portfolio requirements and deadlines before considering (and I am referring to the bachelor’s program).
SCAD (Savannah College of Art & Design) - I would suggest the Savannah location, more professors and students available in creating hand drawn animation compared to the Atlanta campus (from my experience).
Academy of Art University - I’m not too familiar with their program, I do know they offer a hand drawn animation program there.
SVA (School of Visual Arts) - Rebecca Sugar, Ian Jones-Quartey, and Dana Terrace all attended at this school. Proof that you don’t need to graduate/attend CalArts to get your own show (put in the work for others to see, lol).
Gobelins (France) - just seeing short films from their students alone is worth knowing they care about hand drawn animation.
Studio Technique (Canada) - the courses here are offered online by Samantha Youssef, so you do not have to head to Canada to take them. She graduated from Sheridan College, and is very skilled in teaching hand drawn animation.
Vancouver Film School (Canada) - my friend/mentor attended this school years ago, I don’t know how consistent their program is. They seem to still have a hand drawn animation program there.
Now, these are some that I am familiar with, I suggest looking at other animation schools, and the films the students produce there to get a better idea if they value hand drawn as much as 3D/CGI practices. If so, then there’s another school you could add to the list.
As for question about the industry: Most hand drawn animation projects (studio wise) are overseas (where they do the animation). There are some over here in the States, but some resort to cut puppet (2D), as networks are demanding for that now. What I would encourage you is to get very strong in your skills as a hand drawn animation animator, and add another skill with it (character design, storyboarding, layout, etc.) so that you can be considered valuable for your skills and experience. I like that you’re asking, continue to find professional animators who do hand drawn animation, and ask for their advice and experience - some will answer to you back.
Also, more work is being done freelance online, as hand drawn animators are coming together to work on projects for big name clients (Studio Yotta being an example). The opportunities are there for hand drawn - the thing is, how hungry are you to sacrifice other things and being willing to focus on it, so you can have what you desire? It may not come right away (or it just might) - but you have to be ready for either direction, depending how dedicated and disciplined you are as an animator. Lastly, show your work online - even if it’s not great, show your progress. People are always looking for new talent everyday. No lie.
Sorry for the long post, but I hope this covers everything for you. I hope this helps you with your decision making and passion. Don’t fear, go animate and make your dreams happen! :)
Hello, this may sound silly but i'm currently enrolled to attend Art Center next year but, upon consideration (also the fact i have no money that i've had to push my acceptance by a YEAR) and your own information, i'm thinking of dropping the school altogether and going to a cheaper option (LCAD being a better option in my option) so i was wondering if i'm being rash in this idea? I know ArtCenter has a lot of name recognition, internship, and career help, but is that worth going into dept for?
i get a lot of asks from people who ask me if they should go to art school and my answer is always just “hell no no”, so i think i will make this my master Don’t Go to Art School post.
ok here’s the bottom line: just don’t go to art school. don’t go!! don’t go to any accredited art school!! unless you have a full ride scholarship or close to it, don’t go!! literally every working professional i have met since graduating a year ago has agreed with me. we love to get together and bitch about how art school is a waste of time and money.
an education at art center will cost you about$200,000 in tuition alone. lcad isn’t much better and runs about $120,000. during my time at art center, i had a scholarship and help from my parents and i still owe $30,000 in student loans.
and honestly art center didn’t help me get the job i have today. literally all it did for me was introduce me to talented and friendly people who are willing to extend a hand to help each other out in the field. but making friends shouldn’t have to cost you $200,000 lmaooooooo.
here’s my super simple guide to getting a job in animation:
1. move to L.A. this is non-negotiable. all the studios are here. i’ve had uber drivers that have studio hookups and i’ve been offered jobs just sitting in a cafe in burbank and drawing. just existing in the epicenter of animation is an advantage.
2. welcome to L.A! it’s really hot here but i hope you enjoy it. now that you’re here, let’s not go to art school.
and if you absolutely insist on going to some kind of 4 year college-like thing, try http://laafa.org/. it is about a quarter of the cost of art center, which is still pretty steep imo, but is just as good.
4. i’m even going to give you a cheat guide on what you should study (all of this you can find online for free btw!! just google it!! damn just try pinterest even!! or buy a book!!), based on what i studied at art center. design, composition, perspective, anatomy, color theory, costume design, light logic, visual storytelling, character design, character acting, storyboarding, prop design, background design, environment painting, style development. there ya go that’s all you need to know.
5. lock yourself in a studio apartment for 4 years and practice all the above everyday.
6. study the work of artists working in the field that you admire. do what they do, then put your own heart into it. make work relevant to the industry today. know what your goal is. like literally, having access to soooo much artwork from working professionals on a daily basis is almost like cheating.
8. make really good work and put it online. everywhere. share it!! have a website! contact recruiters! contact studios you like and ask them when they have internships open!
9. go to CTN every year and bring your portfolio. sign up for portfolio reviews. bring cards with you. ask the recruiters about internships.
10. congrats u now have a pretty good chance of getting a career in animation and u didn’t spend $200,000 for it.
i may sound bitter and jaded about art school (and maybe i am……..a little…….) but honestly i’m way more excited because after a year of working in the industry and meeting people who either didn’t go to art school or went to shitty no-name schools, i am super passionate about the fact that we live in a day and age where anyone who’s willing to put the work in and discipline themselves can develop the skills to become a professional artist without going to school. art is for everyone!! not just people who can afford school! art is fun! and great! and i want everyone who is passionate about it to succeed and not let the obstacle of $$$$$ stonewall them out of a career they’ll love!
Star Wars Ep. 1 & 2 Miniatures | Sequences by Trevor Tuttle
Trevor Tuttle is a visual storyteller with over 15 years of art department and visual effects experience for film and commercials. Combining art direction, production design and VFX expertise, he collaborates with clients to create dynamic moving imagery using cutting-edge visualization tools and proven leadership skills.
Trevor specializes in direction, camera layout, previsualization, physical models and digital mock-ups. Out of college, he was hired as a practical modelmaker in the modelshop at Industrial Light & Magic, soon transitioning to digital artistry and the opportunity to work with such directors as George Lucas, Robert Zemeckis, and Sam Raimi. In addition to his work as previs supervisor for Disney’s Oz: The Great & Powerful, Trevor’s notable projects include contributions as senior layout artist on Alice in Wonderland, project lead on Indiana Jones 4 and a concept set modeler and layout lead on Beowulf. Trevor’s mastery of both traditional and digital filmmaking techniques lends a unique perspective in this day and age, one that he successfully applies to help create compelling and visually dynamic stories.
And if you are interested in how anime/films/games are made, invest in some ‘The Art of’ books - you can get them on Amazon. There’s tons of amazing ones (I recommend the Korra and Avatar the Last Airbender ones) -
note: Happy Birthday Bianca! your edit work is marvellous, especially the lyric themed gifsets, so writing about creating art is a success too. You blend effortlessly two contrasing techniques, both of which are difficult to master, Photoshop more so, with banter, flirting and you show your own talent in the process. We’re happy to have you in the fandom
Why do you need to know math if you want to be a game designer? And what should I learn beside math? What should I do if I want to be a game designer in the future? (Like should I mod? Make games? Which language should I learn etc.) I am currantly 16 and I am study computer science in high school and currently only learning c#.
Why do you need to know math if you want to be a game designer?
Let’s say I’m working on the combat system for the next sword and sorcery RPG. How do the dexterity and agility stats affect my dodge, parry, critical hit rate, attack speed, and accuracy? How does the strength stat affect my damage? How does the vitality stat affect my defense value and health points? If I add one more point of intelligence, how much mana and spell power do I gain?
Let’s say I’m working on a class-based first person shooter. How much damage should this character do per shot? What should its cone of fire be? What’s its accuracy rate? What’s its fire rate? How long should this effect last? How long should its cooldown be? How often should this character reload? How many shots between reloading? How long should reloading take?
Let’s say I’m working on a fighting game. How much health should each character have? How much damage does this character’s light attack deal? How far does it extend? How long is the recovery time on this attack? How many frames of invincibility does this attack have? How do we ensure that there aren’t any infinite combos?
What should I learn besides math?
To be a game designer? Art, history, mythology, geography, and creative writing are pretty good to start with. When you get to college, you should probably consider programming, cognitive science, architecture, and interior design as useful subjects. You want a good understanding of how people understand and expect the world you create to work. You want to understand all the visual shorthand that’s been wired into their brains that they might not even remember. You want to know how to create an experience for the player using both familiar and new elements.
What should I do if I want to be a game designer in the future? (Like should I mod? Make games? Which language should I learn etc.)
Learn to mod games. Make your own games. Create your own levels. Try creating something with Unity, Unreal Engine, the Dragon Age Origins Toolset, the Skyrim Creation Kit, Game Maker, RPG Maker, or something. Try to create a board game or a card game. Playtest it and improve on it. Hiring managers and recruiters really look for that kind of stuff, especially finished projects.
Hi guys! Sorry for being so inactive lately, but this semester I have been working on my senior thesis. For this final project I decided to do my own rendition of the folk tale, Hansel & Gretel, but as imagined as an animated film! I will be uploading some more stuff in the coming days, but this is the bulk of it :) Enjoy!
Hello!! Do you know of any good character concept art kind of schools in California? I would love to do concept art for games/movies/shows/ect as a career
Art Center College of Art and Design is an excellent school to study Concept aAt /Visual Development. Many professionals teach there and the school has a great track record for job placement of their graduates and a great reputation among the studios. (Full disclosure, I am currently teaching traditional animation there.)
CalArts is also excellent you are looking at Visual Development for animation. Many visual development artist at Disney and other studios have come out of CalArts. Again, many of the instructors there are working professionals.
The key in all these schools is your own ability and effort. School can give you instruction and direction, but the drive and native talent have to come from you.
Storyboard Artist, Animator and Director Dana Terrace stops by Fülle Circle to discuss the race cars, lasers and aeroplanes that may or not be in her next big project (with Showrunner Matthew Youngberg and Co-Producer/Head Writer Frank Angones), Disney XD’s nostalgic return to Duckburg in a reimagining of the 1987 series, DuckTales. We also discuss Gravity Falls, her childhood obsession with cats, the appeal of Carl Barks, and her advice for aspiring animators.
Jason Anders:Do you remember the first cartoon you fell in love with as a kid? Dana Terrace: I had always watched cartoons as a kid, but the first thing I obsessed over was Pokémon. It was 1999, I was eight years old, and I wanted a furry friend with magical powers to beat people up for me. I watched everything else but I never missed a new Pokémon episode. I didn’t know what an animator was, but I knew “I want to do that - whatever it is.” JA:What first influenced you to start drawing and what were your favorite things to draw? DT: I don’t know when I started. I’ve been drawing since I could hold a pencil. What encouraged me to continue was that every time I sat down with a marker and pad of paper the adults would leave me alone. I was an anti-social kid so when I discovered this trick I used it as much as I could. I was big into cats. Every character was either a cat or a cat-girl in a dress being chased by ghosts and dinosaur ghosts. One of my favorite drawings from 1998 shows a cat-girl swinging by a vine over a pit of lava, and the cat is saying “this SUKS” (suks crossed out twice and rewritten in all caps).
JA:Was DuckTales a show that you were into as a kid? DT: Nope! I never watched it until I was hired onto the show. I watched a bunch of episodes for study but had a hard time with the relationship between Webby and the triplets. It felt hateful and mean. That’s something I love about the writers on our show, they treat Webby like one of the kids and make her a joy to board! Besides that, I’ve read a lot of Carl Barks/Don Rosa comics. Those are just delightful.
I feel like I should add a caveat: Though I didn’t grow up with the original show, literally everyone else on the crew did - all of the writers, board artists, designers, directors, etc. They are very aware of keeping the “spirit” of the show intact. I just wanted to work on a show with cute animals going on adventures.
JA:Where are you from originally? DT: I’m from New Haven County in Connecticut. Then I was in NYC for four years to go to college. JA:Is college a path you’d encourage for those who want to pursue a career in animation? DT: My time at School of Visual Arts was a mix of experiences. It wasn’t perfect. I made some great friends there and they had the facilities I needed to make my own short films. However, I found the program lacking in actual knowledge of how the industry works. Many of the teachers hadn’t worked in the industry for over twenty years and were very out of the loop with how things worked. Of course there were exceptions; I had some amazing animation/layout teachers and a couple of figure-drawing teachers who completely changed the way I approached drawing. But because we were so far away from LA studios it was hard for us to imagine what an active professional looked like. I learned a lot from my peers, online tutorials, and students from CalArts and Gobelins that I would talk to in forums.
I don’t want to discourage anyone from doing anything just because of my singular experience. It all comes down to the individual. Some people have amazing experiences in school, I didn’t. Art school isn’t for everyone, especially those in financial straights, but there are alternatives! There are a million online classes students can take that offer a solid animation education by current working professionals at a fraction of the cost. It takes a lot of hard work and dedication to strike out on your own but it isn’t impossible. I hope students look at both options very carefully to decide what’s best for them!
JA:How did you land a job working on Gravity Falls, and what was your immediate reaction to the offer? DT: It was strange! I hadn’t watched Gravity Falls before they contacted me and sent a storyboarding test. Someone on the crew found my Tumblr and liked my drawings enough to email me! I did the test and they immediately wanted to bring me on as a revisionist. At the same time I was waiting to hear back from Steven Universe for a position. I was leaning more towards SU, I was a fan of Rebecca Sugar ever since I saw her films at SVA, but they took too long to reply and I needed a job so I half-heartedly accepted Gravity Falls’ offer. I think it turned out alright. JA:What is your fondest memory of working on Gravity Falls? DT: There are so many good memories on Gravity Falls - drinking with the crew and playing Smash Bros., drunkenly playing Smash Bros. with the crew, etc. One memory I go back to is storyboarding on “Dipper and Mabel Vs the Future.” There was a scene where Mabel is sadly looking through her scrapbook while Stan attempts to cheer her up. It was a real “father/daughter” kind of moment and, having lost my own father around Mabel’s age, I poured my heart into it. I don’t know how much of that came out in the finished animation, especially after some things were cut for time, but it was the first time I didn’t get notes from my director. If I went back I’d change a million things, but I remember being very satisfied and proud at that moment. JA:How did the opportunity of working on the new DuckTales present itself? DT: The Line Producer for DuckTales was also LP for season two of Gravity Falls. When she heard I was looking for work in November 2015 she hit me up! I was originally offered a boarding position, but I had just finished boarding for a few projects that left a bad taste in my mouth. So I took a chance and asked if they had a director’s position open. Fortunately, they did - and even more fortunately, they were desperate enough to try me out! JA:What do you love most about DuckTales, both the new and original show? DT: I can’t say much about the original show, but I’m a big fan of the Carl Barks comics. What I love the most is the way he drew Scrooge and Donald. Their closed-eye designs were so cute and their smiles so appealing. Happily, we’ve integrated some of those Barks-isms into our designs. I feel so biased talking about the show I worked on. Of course I love it! The scripts are funny, the characters have depth, and best of all Webby has an actual goddamn personality besides “girl”. She’s my favorite character to work with. I think people will appreciate what we’ve done with her.
JA:What can we expect from the new series? DT: Same as the old; really cute animal characters going on adventures, but with a little more personality for the kids and a little more depth for every character all-around. I think people will like it! JA:What is your all-time favorite piece of animation? DT: If you’re talking about animation as in “which piece of pure context-less piece of art do I like”, I go back to the scene in Ghost in the Shell when Major Kusanagi’s arms are being ripped apart while trying to defeat a terrorist robot, or the marching parade in Paprika, or just the little looped GIFs made by talented friends like Jeff Liu, Spencer Wan and Toniko Pantoja. Just for the sake of narrowing it down, my favorite animated movie is Princess Mononoke. It’s stunning, heart-breaking and otherworldly. Without fail I start crying ten minutes into the film every time. I’m awful to watch it with. JA:What inspires you? DT: The inevitability of death! Before I die I want to make sure I put 120% into my passion. JA:What advice would you give to artists who are just starting out and trying to get their foot in the door? DT: I say this all the time: DRAW! Draw every goddamn day. Or write every day, if that’s your thing, and show your work to people, online and offline. Learn how to take critique and never let yourself hide behind “styles”. That’s how amateur artists stay amateurs. If you want to get into animation it will behoove you to be versatile. At the end of the day, the quality of your work is all that matters. JA:How would you describe yourself in three words? DT: Very. Tired. UUUGHHH.
HI! i want to ask u something personal, what did u study? graphic desing or something like that? (sorry, i'm not very good at english)
hello!! I’m actually still at school, and I’m entering my senior year next semester! ^^
I major in visual communication at a fine arts college, so we learn things like traditional work (working with traditional media both wet and dry), graphic design, photography, illustration, advertising, film, marketing, etc! it’s an all-inclusive major
In which we explore a few of Minnesota’s many fantastic art offerings. Let’s take a trip through the Twin Cities!
Featuring the Minneapolis Institute of Art, Minneapolis College of Art and Design, Soo Visual Art Center, Soap Factory, Law Warschaw Gallery at Macalester College, Burnet Gallery at Le Meridien Hotel, and Walker Art Center.